The Czerny and Lipinski edition of Bach's Sonatas for Violin and Keyboard was published as Volume 10 of C. F. Peters’ series of Bach’s Oeuvres complets, with the title Six grandes Sonates pour le Pianoforte et Violon obligé composes par Jean Sebastien Bach. Edition nouvelle, soigneusement revue, corrigée, métronomisée et doigtée; enrichie de notes sur l’execution et acompagnée d’une preface. The preface contains the information that:
the publisher has conscientiously ensured diverse collaboration in order to produce these works with all their original exactitude. The discovery of an old, very correct manuscript made it possible to avoid previous errors, so that in the present edition there is no longer anything in the notation that offends against the spirit of Bach’s composition. The comparison with that manuscript was kindly undertaken by Chamber Musican (Kammermusikus) M[oritz] Hauptmann in Cassel [the provenance and location of the source is not specified]. Thereafter these sonatas were played through together several times and critically tested in their the total effect, by the Royal Saxon Court Organist Herr A. A. Klengel and the Royal Concert Master Herr Karl Lipinski, as a result of which Herr Lipinski provided the violin part with signs for bowing and all other suggestions, which also substantially aid the violinist to gain a perfect conception of the work.
On the contents page a note informs the reader that in the piano part ‘The tempo markings (according to Maelzel’s Metronome) as well as the fingering have been supplied by Herr Carl Czerny, as in the previous volumes.’ A review of the publication in the Allgemeine musikalische Zeitung by the journal’s editor, G. W. Fink, gave it an enthusiastic welcome. On the subject of the performance markings in the violin part he commented that Lipinski and Klengel had:
played it through together and critically tested its total effect, as a result of which Herr Lipinski supplied the violin part with bowing signs and all other suggestions, which make a complete grasp of the work significantly easier for the violinist [...] This too we regard as a service of great significance, for the provision of annotations comes from a man who is not merely a perfect master of his instrument, but also suffused with the sublimity of Bach’s spirit.
gemeinschaftlich mehrmals durchspielt und in der Gesammtwirkung kritisch geprüft, wobei Herr Lipinski die Violinstimme mit den Zeichen für die Bogenführung und alle übrigen Andeutungen versehen hat, welche die vollkommene Auffassung des Werkes auch dem Violinspieler wesentlich erleichtern. [...] Auch dies erachten wir für einen Dienst von grosser Bedeutung, da die Angabe der Bezeichnungen von einem Manne kommt, der nicht blos volkommener Meister seines Instrumentes, sondern auch vom Geiste Bach’scher Grossartigkeit durchdrungen ist. [AmZ 43(1841), col. 147]
In fact, Lipinski treated the violin part very freely, extensively adding and changing bowing, providing numerous articulation, dynamic and accent markings (including ' . > < cresc. dim. sf, as well as f and p in their various gradations). He indicated portato in several places and also included such characteristic 19th-century instructions as dol[ce] 3ta Corda to obtain a particular style of execution on a specific string, marqué, ten[uto], sostenuto, appassionato, espressivo, animato, tranquillo. In the double-stopped Adagio of the Fifth Sonata he added a footnote instructing the performer to execute 'Each note with the whole length of the bow, but lightly. The same in the forte, but with more vibration [vibrato?] and force.' Throughout the volume, the violin part in the piano score is quite different from the separate violin part, presumably reflecting the original source.
Czerny's metronome marks are given only in the piano part.
||Johann Sebastian Bach
||Violin Sonatas with keyboard
||Six grandes sonates
||1841 ±1 years [Source: Plate number comparison] |
||Viola and Piano – 1 Viola · 1 Others (Piano)